A thesis submitted in partial satisfaction of the· requirements for the ...

111
CALIFOR.'HA STA'rE UNIVEH.SITY, NORTHRIDGE ADJlLPTA'TION OF KOREAN CEREMONIAL Df<ESS INTO AMERICAN DRESS S'I'YLES A thesis submitted in partial satisfaction of the· requirements for the degree of Master of Science in Horne Economics by Sara Soon Yoo June 1981

Transcript of A thesis submitted in partial satisfaction of the· requirements for the ...

CALIFOR.'HA STA'rE UNIVEH.SITY, NORTHRIDGE

ADJlLPTA'TION OF KOREAN CEREMONIAL Df<ESS

INTO AMERICAN DRESS S'I'YLES

A thesis submitted in partial satisfaction of the· requirements for the degree of Master of Science in

Horne Economics

by

Sara Soon Yoo

June 1981

The thesis of Sara Soon Yoo is approved:

Ann~.-stasch, Ph.D.

F~ances P. ~?ite, M.S.

Nancy Ve ASwens, Ph.D. , Commit ee Chairman

California State University, Northridge

ii

In gratitude for her continuous

assistance, this thesis is

dedicated to

Dr. Nancy J. Owens

iii

ACKNOlvLEDGMENTS

The author wishes to express her appreciation to

Dr. Nancy J. Owens for her guidance and assistance in the

completion of this thesis, to Mrs. Frances P. White for

her help in draping the garments, and to Dr. Ann R. Stasch

for her help in the final analysis of this thesis.

Special thanks go to all of the women who com-

pleted the questionnaire and thereby made this study

possible.

A special acknowledgment of thanks goes to the

faculty members in the Department of Home Economics for

their confidence and encouragement.

iv

TABLE OF CONTENTS

DEDICATION . . . .

ACKNOWLEDGMENTS

LIST OF TABLES . .

LIST OF PLATES . .

ABSTRI\CT

Chapter

1. INTRODUCTION . .

Justif ica t.ion

Objectives ...

Null Hypotheses

Research Hypotheses

Assumptions

Limitation .

Q) H.EVIEW OF LITERATURE .

Korean History •

Fabrics

Korean Women's Ordinary Dress

Korean Women's Ceremonial Dress

Colors of Costume

3.

4.

PROCEDURE • • • • .. lllf • ••

RESULTS AND DISCUSSION . .

Description of Respondents .

v

Page

iii

iv

vii

. . . viii

X

1

2

2

3

3

4

4

5

5

8

13

26.

38

42

44

44

Chapter

s.

Knowledge of and Experience with Korean Costume

Opinions on Garments Shown .

SU.f\Wu"\RY, CONCLUSIONS AND RECOi:-Ii-lENDl\TIONS • • •

Recommendations for Further Study

REFERENCES

APPENDIXES

A. QUESTIONNAIRE WRITTEN IN ENGLISH QUESTIONNAIRE l\!RI'I'TEN IN KOREAN

B. SKETCHES, DESCRIPTIONS AND PICTUHES OF GARMENTS • • •

c. LIST OF TABLES .

vi

Page

46

48

53

58

59

62

69

80

LIST OF' TABLES

Table

1. Descriptive Data on the Respondents .

2. Question 4: Have you ever seen traditional Korean ceremonial costumes? vs

Question 2: Where were you born? Question 3: How many years have

you lived in the United States? (Korean responses only)

3. Question 5: If Yes (to #4), what kinds of ceremonial costumes have you seen? vs

Question 2: Where were you born? Question 3: How many years have

you lived in the United States? {Korean responses only)

4. Question 6: Have you ever worn traditional Korean ceremonial costumes? vs

Question 2: Where were you born? Question 3: How many years have

you lived in the United States? (Korean responses only)

5. Question 7: How often do you wear traditional Korean clothes? vs

Question 2: Where were you born? Question 3: How many years have

you lived in the United States? (Korean responses only)

6. Question 8: How many traditional Korean dresses do you have? vs

Question 2: Where were you born? Question 3: How many years have

you lived in the United States? {Korean responses only)

7. Question 9: Could you recognize a Korean woman's social status by looking at her traditional Korean dress? vs

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Page

45

82

83

84

85

86

Table

Question 2: lvhere were you born? Question 3: How many years have

you lived in the United States? (Korean responses only)

8. Question 10: If Yes (to #9), what would help you to determine her social status? vs

Question 2: Where were you born? Question 3: How many years have

you lived in the United States? {Korean responses only) . . .

9. Question 11: If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your American dresses? (for each garment) vs

Question 2: Where were you born? Question 3: How many years have

you lived in the United States? (Korean responses only)

10. Question 12: If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your traditional Korean garments? (for each garment) vs

Question 2: Where were you born? Question 3: How many years have

you lived in the United States?

Page

87

88

89

(Korean responses only) . . . . . • . 92

11. Question 13: Please rank them in the order in which you like them, with your favorite ranked as 1 and your least favorite ranked as 5. vs

Question 2: Where were you born? Question 3: How many years have

you lived in the United States? (Korean responses only) . . . . 95

12. Question 14: For each of the garments, please indicate with a check (X) which aspect(s) of

viii

Table

the garment you like. (for each garment ) vs

Question 2: Where were you born? Question 3: How many years h~ve

you lived in the United States? (Korean responses only) • • . . .

ix

Page

96

LIST OF PLA'l'ES

PLATE Page

I. NUBI-CHOGORI . . . . . . . . 15

II. SOJI.1-CHOGORI . . . . . . 15

III. KEKI-CHOGORI . . . . . . . . . . . 16

IV. HOEJANG-CHOGORI . . . . . . 16

v. SM1-HOEJANG-CHOGORI . . . 18

VI. BAN-HOEJP~G-CHOGORI . . . 18

VII. CHIHA . . . . . . . . . . . . . 19

VIII. CHAN GOT . . . . 21

IX. SOKOT . . . . . . . 23

x. PAGI . . . . . . . . . . 23

XI. DAN-SOKOT 23

XII. BUS UN . . . . 25

XIII. TANGJU . . . . 27

XIV. YUNJU . . . . . . 27

XV. SUJU . . . w . . 27

XVI. JIN-SHIN . . . . . . . . . . . . 28

XVII. NAJ1.1AKSHIN . . . . . . . . . 28

XVIII. MITURI . . . . 29

XIX. JIPSIN . . . . . . . . 29

XX. JUKOUE . . . . . . . . . . . . . . . . . 30

XXI. WONSl\11. . . . . . . . . . 32

XXII. WHALOT . . . . . . . 34

X

PLATE

XXIII. TA..l\JGOUE

XXIV. QUEEN'S ORDINARY CLOTHES

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Page

36

37

ABSTRACT

ADAPTATION OF KOREAN CEREMONIAL DRESS

INTO AMERICAN DRESS S'fYLES

by

Sara Soon Yoo

Haster of Science in Home Economics

May 1981

Five garments were adapted into modern American

styles from traditional Korean women's ceremonial garments

by draping them on a dress form. A questionnaire was

utilized to obt.ain Cauca.sian and Korean women's opinions

about traditional Korean women's ceremonial garments and

the derived garments. A collection of five garments with

the questionnaires was presented to women who lived in Los

Angeles and were members of Korean Protestant churches or

the Presbyterian Church in Encino~ The garments designed

varied in style from day dresses to formal evening wear.

The women viewing and wearing the garments responded to

the questionnaire during the modeling of the dresses.

A higher percentage of Korean than Caucasian women

preferred these dresses. Caucasian women preferred the

color of the garments and the Korean women preferred the

style of the garments. The garment to which both sets of

xii

women responded most favorably was the blue silk one

adapted from the queen's ordinary clothes.

\ ~- ' -,

There was a significant difference between the

numbers of Caucasian and Korean women who had worn Korean

ceremonial costumes previously. There was no significant

difference in preference among the Korean women who had

lived in the United States for different lengths of time.

It '"as concluded that there is a need for dresses

specifically designed for Korean women and that clothing

manufacturers and pattern companies should be made aware

of this need.

xiii

Chapter 1

INTRODUCTION

The essential characteristics of a nation and its

customs can be seen by the clothing that the people wear

in daily life, with cultural trends being illustrated

through upper-class costume {Suk, 1971, p. 7). According

to Lillian B. Matthews (1979), writing about the dress and

values of women,

Dress is the modification human beings make in their appearance. The study of dress, therefore, is a factor of material culture and can provide insights useful in interpreting other aspects of behavior. Analysis of dress in its broadest meaning contributes to the understanding of individual and group social roles, as well as alterations in other cultural forms {Matthews, 1979j.

Since dress directly reflects the cultural and

social background of a society, research solely on dress

and on clothing material cannot be accomplished. An

understanding of the history for that particular society

is needed.

Although Korea has its own traditional costumes,

there exists practically no evidence of ceremonial dress

prior to the Yi dynasty. However, literature and arti-

facts illustrating the dress styl~s and the textiles of

the Yi dynasty are available. Therefore, most of the

information included in this study originated from or was

1

' .

related to the Yi dynasty.

For this study, five garments were adapted into

modern American style from traditional Korean women's

ceremonial garments, with the designs draped on a dress

form.

Justification

Studies available in the English language on

Korean dress have been either historical studies on

traditional dress or descriptive studies done with women

subjects who live in Korea.

Many Korean women are now living in the United

States, especially in Southern California. Most wear

western dress, which is foreign to their heritage. The

question addressed in this study was whether styles with

a western look derived from Korean traditional dress

would be more acceptable to Korean women living in the

Los Angeles area than was regular western dress.

Objectives

The objectives of this study were:

1. to identify traditional Korean women's gar­

ments which would lend themselves to design

adaptation for western styles;

2. to create, by draping, original garments

which were inspired by traditional Korean

2

dress;

3. to determine the degree of acceptability of

these styles to Korean women living in the

Los Angeles area; and

4. to determine the acceptability of these

styles to Caucasian women living in the Los

Angeles area.

Null Hypotheses

1. There is no significant difference in the

acceptability of the garments between women

of Korean heritage and women of Caucasian

heritage.

2. There is no significant difference in the

acceptability of the garments designed,

depending upon the number of years women of

Korean heritage have lived in the United

States.

3. There is no significant difference in the

acceptability of the garments designed for

this research and the availability of western

fashions to women of Korean heritage.

Research Hypotheses

1. There is a significant difference in ·the

acceptability of the garments between women

3

of Korean heritage and women of Caucasian

heritage.

2. There is a significant difference in the

acceptability of the garments designed,

depending upon the number ?f years women of

Korean heritage have lived in the United

States.

3. There is a significant difference between the

acceptability of the garments designed for

this research and the availability of fashions

to \vomen of Korean heritage.

Assumptions

In the context of the current study, it was

assumed that:

1. A questionnaire was an appropriate method for

obtaining information from subjects.

2. The subjects selected were typical of women

of both Korean and Caucasian heritage living

in the Los Angeles area.

Limitation

The study was limited to five garments adapted

from Korean traditional dress because of financial and

time restrictions.

4

Chapter 2

REVIEW OF LITERATURE

Modern Korea, in the midst of ~ndustrialization

which has been occurring for the past twenty-five years,

has maintained its traditional heritage. Five ancient

palaces are still present in Seoul, coexisting with modern

skyscrapers and industrial plants. One can see on the

sidewalks of the city older men and women in traditional

costume mingling with young people dressed in the latest

western fashions.

This review of the literature has been divided

into five sections. The first part is a brief description

of Korean history, included to define the type of culture

influencing traditional costume. A discussion of the

types of fabrics used for clothing is the next section.

Women's dress in general is then described, followed by

information on the five traditional ceremonial costumes

which have served as the design inspiration for the

garments draped for this study. The meaning and use of

colors as interpreted in Korean society concludes the

review.

Korean History

Korea traces its identity as a country back to

5

Dun Gun, who was thought to have ruled at approximately

2400 B.C.

From 57 B.C. to A.D. 668, there were three

kingdoms existing in the Korean peninsula: Koguryo in

the north, Paekche in the southwest, and Silla in the

east. All began as tribal confederations and there was

much conflict between them, leading to frequent warfare

over territory and available food. The Chinese influence

on the three kingdoms was strong, affecting the older

native traditions but never completely replacing them.

All three kingdoms eventually came to a high cultural

development as a result of the absorption of Chinese

ideas.

In A.D. 668, Mu Youl, king of Silla, the strongest

military power, united the three kingdoms with the help of

the Tang dynasty of China. Buddhism became a dominant

force in the spiritual and cultural life of the new

country and many years of peace and prosperity followed

(Suk, 1971, p. 17).

The people of Silla built magnificent temples

with beautiful Buddhist sculptures and established

astronomical observatories, some of which still remain in

Kyong Ju, which was the capital of Silla. The court of

the united Silla, which interacted wit,h Tang China,

adopted as the official uniform of the court the costume

of the Tang Chinese emperor, and this costume was worn up

6

to the end of the Yi dynasty. Whenever the Tang dynasty

came in contact with the Yi dynasty, the Chinese emperor

sent official clothing to the Korean emperor and his

court (Suk, 1971, p. 23).

However, the united Silla was gradually \veakened,

with the last king of Silla surrendering his kingdom to

Wang Kon without resistance. Wang Kon founded a new

kingdom named Koryo in the western area of the Korean

peninsula in A.D. 918. At this time, schools were

established, and tax laws to stabilize national revenues

were adopted. During this period,bronze coins were used

and refined porcelain household objects were produced

(Woo, 1970, pp. 132-34).

Yi Song Ge came into power in Korea in the year

1392 and founded the Yi dynasty (1392-1910). The people

were called Yi Se Jo Sun (Pow, Cho, and Hong, 1972,

p. 60). Yi Song Ge reorganized the entire system of

government and administration. The reign of the fourth

Yi king, Se Jong (1418-1450), was the most creative period

in the history of the Yi dynasty. Se Jong created the

alphabet known as Han Gul, which is still 'used in Korea.

Until this time, the Chinese alphabet had been used. Se

Jong was responsible for progress in education, astronomy,

art, and politics. During the latter half of the Yi

period, Koreans became aware of Western European ideas.

In reaction to the sudden changes in Korean society

7

caused by these ideas, the farmers rebelled, causing the

Dong-Hak revolution which was anti-foreign and reformist.

This movement started in the southeastern peninsula and

spread rapidly throughout the country. The government

repressed it with the aid of the Japanese army (Woo, 1970,

PP o 4 0 5 1 413 -14 ) o

Japan, under the leadership of Toyotomi Hideyoshi,

conquered Korea in the sixteenth century. Korea was

opened to the outside world by Japan in 1876, and a treaty

with the United States \vas made in 1882. Korea proclaimed

its independence from Japan on August 25, 1945, thus

ending the 500-year Yi dynasty (Cho, 1956, pp. 213-16).

The Korean War began in 1950. Since the 1953

armistice, Korea has had close relationship with western

culture, chiefly through personal contacts between·

Koreans and the American Armed Forces and through economic

aid projects, films, magazines, and television.

Fabrics

There are no exact historical records as to when

the ancient Koreans started using mapo (a type of ramie)

or silk in their daily lives.

Ramie

According to Done-E-Joen, written by an early

Chinese historian, early Koreans in the Sam-Kuk dynasty

8

already knew.how to spin yarn and make and process fabric

from ramie. In A.D. 284, during the Korean Packche

dynasty, King Kori sent an expert in the art of making

fabrics of ramie to Japan {Anspach and Kwon, 1976). There

is also a written record that King Chon-Chie, during the

same Packche dynasty, sent white mapa, the finest ramie

fiber available, to Japan (Suk, 1971, p. 159).

In a later period, there was a popular custom

wherein all the ladies in the palace participated in a

competition to determine which group could make the finest

fabric from ramie. The winning group received a prize

from the king. All enjoyed the festival fun, which

promoted the importance of fabric making (Suk, 1971,

p. 160).

During the reign of King Eun-Hae in the Silla

dynasty, the fine ramie was treated as very important

merchandise in the trade with Japan. The luxurious life­

style of the most famous queen of Silla, Chin-Duck,

inspired various styles of clothes and fabric patterns.

Eventually this stimulated the textile and apparel

industries and provided the basis for the design and

fabrics used in the formal palace clothes. Several grades

of ramie fabric, based on fineness, already had been

developed by that time. Quality grades from a minimum

of thirteen to a maximum of twenty-eight were allowed to

be worn by officers in the government. The top-ranking

9

officers, called Ghingol, could use group twenty-six.

However, their wives were only to wear up to the highest

grading, twenty-eight. It is interesting that, in

general, females -.;vore better quality fabrics. The king

assigned several officers to travel around to inspect and

encourage the product.ion of ramie in order to improve the

quality of the textiles made from this fiber (Suk, 1971,

p. 160).

Fabric production was an important industry in

the Korean kingdoms. The technology was at a high level

due to the demand for luxurious life-styles by the upper

class.

A fine quality fabric of ramie, called ~yong-Joo

fabric, is still popular in the countryside of Korea,

particularly for burial clothes. The finest quality ramie

fabric, called mosi, originated in a city named <Ham-Sam\

Mosi was a sunbleached white fabric. Ham-Sam is famous

for its hand-made fabrics of mosi, which is still very

popular and used by elderly people during the hot summer

(Suk, 1971, p. 160).

The raw material of sam-be, a type of unbleached

muslin, is obtained from the stem of a plant called ~·

Sam-be looks like a fabric made from hemp. This plant is

cultivated in early spring and grows to the height of

2 to 2.5 meters by August. It is harvested in early

September. Sam-be is also favored by many Koreans for hot

10

.l >-J

sununer wear (Suk, 1971, p. 165).

Silk

The et:ymology of the word "silk" points authori-

tatively to the East as the origin of the luxurious

fabrics made from this fiber. "Silk" is derived from

"Seres," the name given to the ancient Chinese and the

other inhabitants of Eastern Asia.

Sericulture was developed in China. According to

Walton (1925, p. 46),

It was not until the third century A.D. that the Japanese learned of the manufacture of silk through the Koreans, and then they sent Koreans to China to engage people to teach the art to the Japanese. Three Chinese girls were brought back, who taught the Japanese court and people the art of plain and figure weaving.

Silk was used only by the upper classes in ancient

Korea. Although records are not clear as to when seri-

culture reached Korea, they do indicate that the emperor

of China was presented with a gift of an embroidered

silk wall hanging made by the queen of Silla in the sixth

century A.D. (Yoo, 1975, p. 120).

Ear~y silk patterns captured the peculiar exotic

quality of the country. Early silk fabrics were hand-

woven with softly blurred warp print patterns. Certain

traditional designs are still used in modern fabrics.

Maebong, an early chrysanthemum pattern in gently

undulating repeats, is printed in soft bronze-like colors.

11

Koryo, with its small elongated and curled puffs of

clouds, appears in pastels. Rose, a stripe of large

flower faces, is in intense hues. Tangun, a stylized

heart motif, has large ombre shifts of intense colors~

Chunchon Mountains, named for a mounta.in range near Seoul,

is depicted as rmvs of peaked color in bronzy earth tones,

interrupted here and there with a jolting spot of

brilliant color. Chevron, a subtle broken herringbone,

appears in pale milky-white colors. Toksu is a pattern

of hanging chains of diamonds in tones of a single color

with a simple design {Kavanaugh, 1976).

Cotton

During the reign of Kong-Ming, the thirty-first

ruler in the Koryo dynasty, Moon Ik Cham brought cotton

seed to Korea from China. He planted the first cotton

seeds in Korea and introduced the technology of making

yarns and fabric from cotton. Moon served as a diplomat

to China and was honored for his contributions to the

revolution of the old Korean textile industry {Suk, 1971,

pp. 159-60).

Cotton was used for the clothing of common people.

They grew the plants, separated the fibers from the

plants, spun the yarn, and wove the fabric by hand. To

prepare the fabric for a garment took a great deal of

time. Cotton was also used for padding in quilted

12

garments. Lowell described its use as, "Wool is quite

unknow·n, for there are no sheep any¥1here on the peninsula.

But on the score of warmth, wadded cotton, although

perhaps a little bulky, serves equally well" {Lowell,

1951' p. 325).

Korean Women's Ordinary Dress

According to Lmvell {1951, p. 319),

The v1ay in which the far-Oriental regards dress is somewhat peculiar. I can think of no simile so descriptive as the connection we tacitly assume between spirit and body. We hardly, in ordinary life, think of the one as devoid of the other, and we regard the latter as at least the sense impression to us of the person within. So do they with dress.

The ordinary women's costumes developed without

great influence from any foreign country, while the

official male costumes were strongly influenced by China.

The basic silhouette was retained in all clothing regard-

less of social status, although social status was

identifiable by the material, color, and ornamentation of

the costume (Suk, 1971, p. 77).

Chogori

Korean women's clothes were traditionally simple

in style and two-piece garments. The short jacket was

called a chogori {PLATES I-VI, pp. 15,16,18). It had a

white collar which was sewn to the j acke.t but could be

removed and replaced when it became dirty. The top of

13

the sleeves was cut square with the shoulder line with

the circular cut undersleeve seam taped back to fit tight

at the wrist. This jacket fastened in front with two long

strips of cloth in place of buttons and buttonholes. It

was worn \vi th a

chima (PLATE VII, p. 19), a long skirt which was full and worn high on the figure with the waistband of the skirt compressing the breasts. The total effect of this Korean costume was similar to that of a short­jacketed gown with an empire waistline and a long full gathered skirt. The chogori is worn with the chima top" (Anspach and Kwon, 1976).

There were several types of chogoris, separated

according to their use by ancient Korean women. The nubi-

chogori was made of two layers of silk or cotton fabric,

with layers of extra cotton fabric between, which were

quilted at narrow intervals. There were four different

nubi-chogoris (PLATE I, p. 15), called jan-nubi, nap-jac-

!!ubi, oue-mok-nubi, and jan-ju-nubi, depending on the

quilting pattern. Most of them were made by hand. Jade

green was the most popular color during the Yi dynasty

( S uk , 1 9 71 , p . 516 ) .

The som-chogori (PLATE II, p. 15) was padded with

cotton fabric and fiber but was not quilted. Both the

nubi and the som-chogori were worn during the winter to

protect the wearer from the cold.

The keki-chogori (PLATE III, p. 16) was a lined

top made of semi-opaque fabric stitched three times on

one line so as not to show the seam allowance, and the

14

PLATE I

NUBI-CHOGORI

PLATE II

SOM-CHOGORI

( S uk , 1 9 7 1 , p . 51 6 )

15

PLATE III

KEKI-CHOGORI

PLATE IV

HOEJANG-CHOGORI

(Suk, 1971, pp. 516-17)

16

juksam was a.single layered top. Both the keki-chogori

and juksam \\7ere worn in the summer time. For spring and

fall, chogories were made of double layers of cotton or

silk.

There were two kinds of hoejang-chogori (PLATE

IV, p. 16) which were identified by style and color. The

sam-hoejang-chogori (PLATE V, p. 18) used a crimson fabric

for the collar, the end of the sleeves, the ribbon ties,

and the decorative gussets and was worn by upper class

young women. The ban-hoejang-chogori (PLATE VI, p. 18)

had indigo fabric for the end of the sleeves and crimson

fabric for the collar and the ribbon ties and was similar

to the sam-hoejang-chogori except that it did not have

decorative gussets (Suk, 1971, pp. 517-18).

Chima

The chima (PLATE VII, p. 19) was a finely pleated,

floor-length long skirt which had a long cotton band on

top to tie it around the bosom, similar to the skirt of a

surplice gown. Usually the chima was made with twelve

pieces of thirteen-inch-wide fabric sewn together, but the

upper class women's chimas were made with thirteen pieces

of thirteen-inch-wide fabric. Common people wore a

cotton chima (Suk, 1971, p. 518). How the chima was worn

indicated the social status of the person. For example,

a gisan~ or concubine would wear the chima with the left

17

PLATE V

SAM-HOEJANG-CHOGORI

PLATE VI

BAN-HOEJANG-CHOGORI

(Suk, 1971, p. 517)

18 ' .

PLATE VII

CHIMA

(Suk, 1971, p. 518)

19

side lapped over the right side, while ordinary wives

wore it with the right side lapped over the left. Lower

class \vomen, such as the gisang, could not wear a lined

chima but only one made of a single layer (Walton, 1925,

p. 495).

The sulan-chima had a detachable sulan trim at

the top and the bottom of the chima. The sulan trim was

about fifteen to bventy centimeters in width; thus the

sulan-chima would drag on the floor about thirty centi­

meters with the sulan trimdragging on the floor an

additional thirty centimeters. The sulan trim had golden

foil patterns on it and it could be unstitched when the

garment needed to be laundered. 'Ghe golden foil patterns

varied with social status~ such as a dragon pattern for

the queen, a phoenix for a princess, and Chinese charac-

ters and flowers for a high officer's wife (Kim, 1963,

p. 845).' If there were two detachable sulan trims, the

garment was called a tealan-chima.

The middle and higher class women in Korea wore

the changot (PLATE VIII, p. 21) or sugea-chima to veil

their faces when passing through the public streets.

These veils concealed a woman's faGe, which gave her

higher status. Women in the Yi dynasty wore veils while

riding horses. The sugea-chima was made of light blue

cotton and was worn by middle class women for ordinary

day wear, while the chanaot was worn for formal occasions.

20

PLATE VIII

CHANGOT

(Suk, 1971, p. 513)

21

Undergarments

For undergarments (PLATES IX-XI, p. 23), Korean

\vomen usually wore three baggy trousers which had bands

on the top stitched to pleats. The inner layer was called

sokot, over which the pagi (knee-length) was worn, and

finally the dan-sokot (calf-length) was worn (Suk, 1971,

p. 519). The sokot was made from cotton or hemp for the

middle class and silk or ramie for the nobility. The

woman's ~differed from the man's, which was used as

an outer garment. The function of the dan-sokot was

similar to that of a slip (Kim, 1963, pp. 496-98).

Commoners wore a chima on top of these underpants

for daily use, while on special occasions, upper class

women wore three underskirts over the trousers. Kim

(1972, p. 24) described these as follows:

The first one was the mumiki, which was a three, five or seven-layered pleated under skirt reaching to the ankle. Each layer used different colors, so it was called mujiki, which means rainbow. The mujiki was made of hemp. The next underskirt worn was longer and fuller than the first one. It was made of twelve pieces of ramie and a four to five centimeter piece of Chinese paper was attached at the hem to make it stiff. However, this underskirt was worn only at the palace.

Above the waist, ancient Korean women wore a sog-

juksam, which was similar in style to the chogori but a

little smaller in size. In winter, they vmre an addition-

al top, which was called a sog-chogori. Thus there were

three layers: first, the sog-juksam next to the skin,

22

' -

PLATE IX

SOKOT

PLATE X

PAGI

PLATE XI

DAN-SOKOT

( S uk, 19 71 , p. 519)

the second layer a sog-chogori, and the outer long

chogori as an undergarment (Yoo, 1975, p. 495). With all

these layers, the women still had to maintain a rr..odest

appearance.

During the latter portion of the Yi dynasty, because the chogori was made shorter, the huridi was worn to prevent exposing the bosom. It was made of cotton or silk. For winter, it was quilted or padded and tied around the bust (Kim, 1963, p. 500).

Korean women spent a lot of time and energy in

taking care of their clothing. When washing needed to be

done, most of the garments were taken apart piece by

piece, washed, and soaked in a rice starch to restore the

fabric's crispness. They were then stretched and pounded

with heavy sticks to dry smoothly. When dry, they were

beaten again upon a smooth tree trunk until the cloth had

a brilliant luster (Hamilton, Austin and Terauchi, 1910,

p. 30).

Footwear

Korean women wore busun (PLATE XII, p. 25),

Korean socks, and shin, which are Korean shoes. Busun

were worn in all seasons and were padded with cotton for

the winter. Busun were usually made of white cotton and

fitted the foot tightly. Shoes were shaped like canoes

and were very stiff. The left and right shoes were

shaped alike and therefore were interchangeable. Both

men and women wore certain types of shoes, depending upon

24

PLATE XII

BUS UN

(Suk, 1971, p. 518)

25

their social position. Tangju, yunju, and suju (PLATES

XIII-XV, p. 27) \·lere made of leather on the bottom and

silk on the top and were worn by the nobility. The yunju

had a cloud painted design on the front and back. Jin­

shin (PLATE XVI, p. 28), which had hobpails on the bottom,

were made of oiled leather and were worn by women on rainy

days. Namakshin (PLATE XVII, p. 28), or wooden shoes,

were also used on rainy days (Suk, 1971, p. 585).

Common people wore grass shoes or hemp or straw

sandals. Middle and lower class women wore shoes called

mitur~ (PLATE XVIII, p. 29} and jipsin (PLATE XIX, p. 29}

for everyday wear. Mituri and jipsin were similar in

style and shaped like canoes. The mituri were made of

hemp and were finer than jipsin, which were made of straw

(Yoo, 1975, pp. 504-05}.

Korean Women's Ceremonial Dress

Five different kinds of garments were basic to

ceremonial dress and were worn by the princesses and

upper class women in ancient Korea. These were called

jukoue, wonsam, whalot, tangoue, and queert's ordinary

clothes.

Jukoue

The juk~ (PLATE XX, p. 30} was one of the

highest ranking ceremonial costumes used in the palace;

26

PLATE XIV

YUNJU

PLATE XIII

TANGJU

PLATE XV

SUJU

(Suk, 1971, p. 597)

27

PLATE XVI

JIN-SHIN

PLATE XVII

NAMAKSHIN

28

(Suk, 1971, p. 599)

PLATE XV III

MITURI

PLATE XIX

JIPSIN

(Suk, 1971, p. 594)

29

PLATE XX

J UKOUE

•••••••••• ••••••••• ··-····· ••••••• . .......... . ••••••••••• • •••••••••• •••••••••••

~111111 I 11111111111 •••••• • •••••••••• ••••• • •••••••••• ••••• • •••••••••• ••••• • •••••••••• ••••••• • •••••••••• ••••••• • ••••••••••

(Suk, 1971 , p. 492)

3 0

it was presented as a gift from China during the Mung

dynasty (A.D. 1370) for the formal costume of the first

queens of the Yi dynasty (Suk, 1971, p. 499). This dress

was used as full formal dress at coronations until the

end of the Yi dynasty.

The jukoue \vas distinguished by pictorial

embroidery which included 160 pairs of pheasants and 472

large and small size flower patterns throughout the dark

blue silk satin. A seven-foot-long red band with a gold

dragon or a phoenix stamped or embroidered on it was

attached at the neckline, front opening, skirt hem, and

end of the sleeves. A decorative panel hung around the

neck and down the front of the garment (Suk, 1971,

p. 492).

Wens am

The wonsam (PLATE XXI, p. 32) was worn as a

ceremonial costume in the palace as well as by ordinary

women during the reign of King Kong Min of the last Koryo

dynasty (A.D. 1370). The wonsam worn in the palace was

more luxurious than that worn by ordinary women. Also,

the palace wonsam had a back panel which was longer than

the front. The wide sleeves, edged with crimson and

yellow, had attached white silk pieces to conceal the

hands. The crimson silk belt, which was four to five

centimeters in width and four to five meters in length,

31

PLATE XXI

WON SAM

(Suk, 1971, p. 494)

32

33

was tied around the bust and dropped down to the floor in

the back {Suk, 1971, p. 122). Various gold designs were

used on the belt: dragons for the yellow wonsam,

phoenixes for the crimson wonsam, and flowers for the

green wonsam. The empress wore a yellow wonsam, the

queen a crimson wonsam, and a princess or commoner a

green wonsam. Ylonsams \vorn by ordinary women were less

luxurious and ornate than those which were worn by women

of the royal family. Women we~e expected to be calm and

self-composed when wearing the wonsam (Suk, 1971, p. 494).

Whalot

The whalot (PLATE XXII, p. 34), made of heavy

red silk, was used as a ceremonial costume for the women

of the royal family. Designs of lotuses, peonies,

phoenixes, clouds, waves, butterflies, and mountains were

embroidered on the shoulders, the end of the sleeves, and

the lower part of the gown. Later, the whalot was per-

mitted to be used as a wedding gown by the middle class.

The front of the dress was about thirty centi-

meters shorter than the back. The underarm side seam in

the bodice area was left open. The embroidered-sleeves

of yellow, crimson, or deep blue signified good fortune.

This whalot was first made during the Silla united

period (A.D. 826-835) (Suk, 1971, p. 122). l ,-~'"

Back View

PLATE XXII

WHALOT

(Suk, 1971, p . 497)

34

Tangoue

The tangoue (PLATE XXIII, p. 36} came from the

Chinese Tang dynasty costume, and it was the simplest

ceremonial attire during the Yi dynasty. It was similar

in shape to the chogori, except that the front and back

bodice extended down to the knees and "curved beautifully

at the ends. The tangoue was made of green silk with a

crimson lining and had dark purplish-red strips that tied

at the center front below the collar. fA gold foil pattern

of flowers, bats, and letters meaning longevity and

happiness was placed on the area from the shoulder to the

sleeves and on the front and back bodice. This dress was

worn only by women of the royal families and those of

nobility. The queen and princesses wore the tangoue

daily so that they would not be confused with other

palace women (Suk, 1971, p. 122).

Queen's Ordinary Clothes

TThe queen usually wore a dark blue chima and a J

jade chogori1 (PLATE XXIV, p. 37). The queen avoided \

wearing a chima and chogori of the same color by tradi-

tion (Suk, 1971, p. 123).

The ceremonial dresses for the queen for various

occasions were kept constantly ready in a special facil-

ity by expert servants. Usually there were specialized

groups of trained servants to prepare the necessary

clothes for the royal family in rooms set aside for the

35

36

I •

PLATE XXIII

TAHGOUE

-- ! •.

.. • - ~ l

Front View

Back Vie·w

(Suk, 1971, p. 501)

PLATE XXIV

QUEEN'S ORDINARY CLOTHES

(Suk, 1971, p. 504)

37

tasks. The chimbang was the room where sewing was done.

Other s~rvants were assigned to embroider, starch, and

iron in the soobang. Most garments used for the queen or

princesses were specially made from silk, using special

techniques. The queen wore a garment only once or bvice.

The worn garments were then given to women of the royal

family to honor them.

Colors of Costume

Five basic colors were used in Korean traditional

costumes--white, yellow, red, blue, and black (Choe, 1971,

p. 1). These colors were seen as harmonious with the

yin/yang system and the five elements theory.

The meaning of yin/yang and the five elements

theory was explained in the Encyclopedia of Philosophy

as follows:

Basically, it is conceived of two cosmic forces, one yin, which is negative, passive, weak and disinte­grative, and the other yang, which is positive, active, strong, and integrative. All things are produced through the interaction of the two. Associated with the theory of yin and yang is that of the five agents or elements (vlo-hsing) : metal, wood, water, fire, and earth. According to this theory, things succeed one another as the five agents take their turns. Yin, yang, and the five agents are forces, powers, and agents rather than material elements. 'I'he whole focus is on process order, and laws of operation. Existence is viewed as a dynamic process of change obeying definite laws, following definite patterns, and based on a pre-established harmony (Choe, 1971, p. 1).

38

Individual Colors

Each color S}Tibolizes one of the five elements

plus a compass direction and a season.

White is the basic color in Korea. White

symbolizes the element metal and the \\'estern direction

and represents all seasons. It can be worn for all

occasions and by all ages {Suk, 1971, p. 112). In order

to make clothing white, Korean women historically boiled

their clothes in ash water {lye) and then dried them in

the sun. This process was especially effective on cotton.

The color yellow stands for the earth, the middle

direction, and autumn. Yellow signifies nobility.

During the Yi dynasty, only the Chinese emperor could

wear a yellow robe. The Korean king was not allowed to

wear yellow until after the Chinese lost their control of

the country.

Red was worn by the kings of Korea. Red symbol­

izes fire, south in direction, and summer.

The color blue stood for the element wood, the

east direction, and spring. Traditionally, Koreans had

worn mostly white, but during the Yi dynasty, people were

frequently ordered to wear blue-colored clothing because

blue represented the color of the east point of the

compass, on which Korea was located, while white repre­

sented the west. The officials dressed in blue, but the

people returned to wearing white again at the end of the

39

Yi dynasty.

The color black stood for water, north, and

winter. The government recommended that officers wear

a black hat and a blue robe.

In addition to these five colors, gray, light

green, green, and light blue were used. There were

various color combinations that were consistently used

in ancient Korean women's costumes to indicate social

status (Rutt, 1972, p. 223).

Color Combinations

Palace and upper class women during the Yi

dynasty wore yellow chogoris and red chimas. This color

combination was also used for wedding gowns. Red

symbolized wealth and force, and yellow meant fertility.

The red chima was worn only by young women of high class.

Lower class women wore pink chimas. Matrons wore a

yellow chogori and a blue chima. The blue represented

everlasting youth, as well as being the preferred color

of the Yi dynasty. Old women wore a light green chogori

and a blue chima. Middle class women wore a light blue

chogori and a blue chima for ceremonial occasions.

The everyday costume of forty to fifty-year-old

women was a blue or gray chima and a white choaori. A

cri,.mson ribbon at the front of the chogori indicated that

the woman was married. Indigo fabric bands at the ends

40

of the sleeves meant that she had a son or sons. To

wear both the indigo bands and the crimson ribbon was a

source of pride.

The combination of a light blue chogori and dark

blue chima was called a chumdambog. The Koreans wore the

chumdambog while visiting neighbors or relatives (Cho,

1956, p. 26). A white chogori, a black chima, and a

white apron were worn by a lower class woman.

In later periods, these color combinations lost

their class meanings except for special occasions.

41 p •

Chapter III

PROCEDURE

This study was designed to investigate the

possibility of introducing adaptations of Korean women's

ceremonial dress into current American styles.

The primary resource for the historic ceremonial

costumes was the History of Korean Traditional Costumes

by Suk Ju Sun (1971). Five court costumes were selected

as being adaptable to American styles. For each costume,

a sketch was made of a garment that incorporated the de­

sign theme into a western style garment. (See Appendix B,

pp. 70-79). Colors were selected in line with those used

in the original ceremonial garments. Traditional fabrics

were used for two garments, but American fabrics with the

same design feeling were selected for three garments.

Draping was used to develop the toiles for the patterns

to be used for constructing the final garments. The

dress form used was the researcher's personal one. This

was in a small size which would be appropriate for many

Korean women.

Questionnaires were developed ~o assess the

subjects' opinions about their experience in seeing or

wearing Korean dress and about the acceptability of the

five draped garments.

42

43

The five garments were shmvn to 70 Korean women

who had lived in the United States for different periods

of time and to 30 Caucasian women.

A group of thirty women of diverse ages of

Caucasian heritage was used for comparison. All subjects

were obtained from church groups in the San Fernando

Valley--the Koreans from various Korean congregations,

and the Caucasians from the Presbyterian Church in Encino.

At each church service, the minister invited

people to see the garments after the service. Garments

were displayed and modeled in the fellowship hall or a

classroom in the church building. At the Caucasian

church, only the women attended. At the Korean churches,

the entire family was present for the presentation, but

only the \vomen' s responses to the questionnaire were used

in this study.

A chi-square test was used to determine the ~·-Z-·-

significane~ of the differences in frequency of responses

for eachc.r:uestion.

age.

Chapter IV

RESULTS AND DISCUSSION

Description of Respondents

The first question asked for the respondent's

(See Table 1, p. 45.) There was no significant

difference between American and Korean women in their age

groupings. Half of the Korean women were in the 35-49

age group and twenty-nine percent were in the 20-34 age

group. Of the total group of women, forty-three percent

were ages 35-49 and twenty-eight percent were ages 20-34.

The second question was, "Where were you born?"

The majority of the Caucasian womeu were born in the

United States. One person each was born in England,

Scotland, and Germany. Four Korean women who were under

20 years old were born in the United States; th~ rest

were born in Korea.

The third item asked, "How many years have you

lived in the United States?" All of the Caucasian women

who were born in the United States had lived their entire

lives in the United States. Those born in other countries

had lived in the United States more than 20 years. The

Korean women were divided into three groups. Twenty-nine

of the Korean women (41 percent) had lived in the United

44

--- ·---~~-'

TABLE 1

DESCRIPTIVE DATA ON THE RESPONDENTS

Descriptive Data

Age

Under 20 yrs. 20-34 yrs. 35-49 yrs. 50-64 yrs. 65 or more yrs.

Country of Birth

Korea United States Scotland England Germany

Years of Residence States

1-4 yrs. 5-9 yrs. 10 or more yrs.

in United

Korean Caucasian 'l'otal

6 20 35

5 4

70

66 4 0 0 0 -

70

Korean

29 22 19

70

3 9 8 28 8 43 5 10 6 10

30 100

Chi square -- 8.922 Degrees of freedom == 9 Significance == 0.5

0 66 27 31

1 1 1 1 1 1

30 100

Chi square == 12.437 Degrees of freedom == 9 Significance == 0.2

Percent

41 31 28

100

45

States 1-4 years, twenty-two (31 percent) had lived in

the United States 5-9 years, and nineteen {28 percent)

had lived over 10 years in the United States. There was

a significant difference between Caucasian and Korean

women in the number of years they had lived in the United

States, with Korean women having lived in the United

States for a shorter period of time.

Knowledge of and Experience with Korean Costume

Item 4 was, "Have you ever seen tradi·tional

Korean ceremonial costume?" There was a significant

difference between American and Korean women. The major­

ity of Caucasian women had not seen traditional Korean

ceremonial costume. The majority of the Korean women

(94 percent) had seen traditional costume. (See Table 2,

Appendix C, p. 82.)

Item 5 asked respondents replying "Yes" to Item

4, "~vhat kinds of ceremonial costumes have you seen?"

Only three of the Caucasian women had seen Korean cere­

monial dresses. In contrast, 91 percent of the Korean

vmmen had seen Korean ceremonial costumes. Costumes

ranked in order of frequency were whalot, wonsam, tangoue,

queen's ordinary~ and jukoue, with no responses made to

"others." (See Table 3, Appendix C, p. 83.)

Question 6 asked the respondents, "Have you ever

worn traditional Korean ceremonial costumes?" None of

46

the Caucasian \vomen had ever worn Korean ceremonial

costumes. Only 16 (22 percent) of the Korean women had

actually worn Korean ceremonial costumes. There was a

significant difference between the number of Caucasian

women and Korean women who had worn Korean ceremonial

costumes. When the three groups of Korean women were

considered separately, no significant difference was

found among them. (See Table 4, Appendix C, p. 84.)

Item 7 asked, "How often do you \vear traditional

Korean clothes?" The Caucasian respondents had never

worn traditional Korean clothes. Of the Korean women, 6

percent wore Korean costumes at least once a week; 18.5

percent of the respondents wore these garments at least

once a month; 40 percent indicated that they wore them at

least once a year; 18.5 percent answered that they wore

these garments less than once a year; and 17 percent had

never worn Korean ceremonial costumes. There was no

significant difference among the Korean women in terms of

years lived in the United States. (See Table 5, Appendix

C, p. 85.}

In response to Item 8, "How many traditional

Korean dresses to you have?", two of the Caucasian women

indicated that they had 1-5 traditional Korean dresses,

while almost three-fourths of the Korean women noted that

they had 1-5 traditional Korean dresses, 17 percent of

the Korean women had more than 5 traditional Korean

47

dresses, and 10 percent had no traditional Korean dresses.

There was a significant difference between Caucasian and

Korean women on responses to this item but no significant

difference among the three groups of Korean women.

Table 6, Appendix C, p. 86.)

(See

The ninth item asked, "Could you recognize a

Korean woman's social status by her traditional Korean

dress?" A majority of Korean women (69) indicated "Yes,"

but 28 of the Caucasian women answered that they could not

recognize a Korean woman's social status by her tradi­

tional Korean dress. (See Table 7, Appendix C, p. 87.)

Item 10 asked of those women responding with a

"Yes" answer on Item 9, "What would help you to determine

her [a Korean woman's] social status?" One of the two

Caucasian women indicated that fabric would help her

determine social status. Fifty-four Korean women reported

that they would look at the garment's style to determine

social status. Color was selected by eighteen women,

fabric by eighteen, and other factors by three as helping

them to evaluate a woman's social status. (See Table 8,

Appendix C, p. 88.)

Opinions of Garments Shown

Questions 11-14 on the qu~stionnaire dealt with

the five garments that were adapted in a modern American

style from traditional Korean ceremonial costumes. These

48

garments wer.e sketched on the questionnaire in addition

to being shmvn to the respondents.

Item 11 asked the respondents, "If these styles

were available on the ready-to-wear market, would you

choose to wear any of them to replace your American

dresses?" There was a significant difference between the

responses of the Caucasian and Korean women. In all

cases, a much higher percentage of Korean women than

American women reported that they would select these

garments to replace their American dresses. There was no

significant relationship between the Korean women's

willingness to wear each garment and the number of years

they had lived in the United States. For the Caucasian

women, the order of preference was as follows, starting

with the most popular garments: Dress 5, adapted from

queen's ordinary dress; Dress 3, adapted from whalot,

Dress 4, adapted from tangoue; Dress 2, adapted from

wonsam; and Dress 1, adapted from jukoue. For Korean

women, in order from highest number of "Yes" responses to

the lowest number of "Yes" responses, the garment order

was Dress 5, Dress 2, Dress 3, Dress 4, and Dress 1.

(See Table 9, Appendix C, p. 89.)

Item 12 was, "If these styles were available on

the ready-to-wear market, would you choose to wear any of

them to replace your traditional Korean garments?" There

\<las a significant difference between the responses of

49

Caucasian and Korean women. A much higher percentage of

Korean vmmen noted that they '\•JOuld select these dresses

to replace their traditional Korean garments than did

Caucasian women. There was no significant difference in

the Korean women's interest in using any of the displayed

garments to replace their traditional Korean garments

based on the number of years they had lived in the United

States. For the Caucasian women, the order of preference

was as follows, starting with the most popular replacement

for traditional Korean garments: Dress 5, Dress 3, Dress

4, Dress 2, and Dress 1. In order of highest number of

"Yes" responses to lowest, the garment order was Dress 5,

Dress 3, Dress 2, Dress 4, and Dress 1 for the Korean

women. (See Table 10, Appendix C, pp. 92-94.)

Question 13, "Please rank them in the order in

which you like them, with your favorite ranked as 1 and

your least favorite ranked as 5," invoked the following

responses. Caucasian women's favorite garments were

ranked as Dress 5, Dress 3, Dress 4, Dress 2, and Dress

1. The Koreans ranked the garments as follows, starting

with the favorite as Dress 3, Dress 5, Dress 2, Dress 4,

and Dress 1. There was no significan~ difference in

ranking between the Korean and Caucasian groups.

Table 11, Appendix C, p. 95.)

(See

The last item, No. 14, was, "For each of the

garments, please indicate with a check (X) which aspect(s)

50

of the garment you like." For Garment 1 (from the

jukoue) , both groups of women liked the style best, then

the color, and last, the fabric. For Garment 2 (from

the wonsam), the Caucasian women liked the color best,

then the fabric, and last, the style. Korean women liked

the style best, then the color, and last, the fabric.

For Garment 3 (from the whalot) , both groups of women

indicated they liked the style best, then the fabric, and

last, the color. For Garment 4 (from the tangoue),

Caucasian women liked the color best, then the fabric,

and last, the style. Korean women answered first "style,"

second "color," and then "fabric." For Garment 5 (from

queen's ordinary clothes), Caucasian women indicated they

liked the fabric best, then the style, and last, the

color. Korean women indicated that they liked the style

best, then the fabric, and last, the color. In all

garments, a majority of Korean women liked the style

best. Only on Garment 4 was there a significant differ­

ence between the responses of the Caucasian women and the

Korean women, with the Caucasian women preferring the

color and the Korean women preferring the style. There

was no significant difference in the responses between

the three groups of Korean women on any of the garments.

(See Table 12, Appendix C, pp. 96-98.)

Several Korean women told the researcher that

they were glad to see that someone was interested in

51

clothing needs of Korean women and hoped that someday

they would see the garments available in ready-to-wear.

52

Chapter V

SU.l'vlHARY, CONCLUSIONS, .A..ND RECOMMENDATIONS

Clothing is a many-faceted subject. The dress

directly reflects the cultural and social background of a

society; research on dress and on clothing materials

cannot be accomplished by itself. Thorough understanding

of the history for that particular society is required.

The costume of a people is influenced by many diversified

factors. /Although Korea has had its own traditional

costumes, there exists practically no evidence of cere-

menial dresses which belonged to the kingdoms before the

Yi dynasty.) Most of the information included in this ~~·--·"-!

study originated from or was related to the Yi dynasty.

The number of Koreans in American society is

continually increasing, with about one hundred and fifty

thousand residing in Southern California {"First Day ... ,"

1981).

Korean women, in particular, may have difficulty

in adapting their traditional lifestyles to blend with

those of their American neighbors. One problem they may

have is in finding clothing that is sized small enough

and that is sufficiently related to their traditional

clothing to be comfortable for them to wear but which is

53

also appropriate for their new lifestyles. This need can

possibly be met by using designs adapted from traditional

Korean dress to make western-styled garments.

For this study, five garments were adapted in

modern American style from traditional Korean women's

ceremonial garments. The fabrics selected varied.

Garment 3 was made from a Korean red silk fabric embroi­

dered in the traditional manner with small flowers

strategically placed on the fabric to facilitate sewing

the garment into a traditional whalot. Garment 5 was a

bright blue silk with a woven-in traditional design

signifying good luck. The other three garments were made

from 100% cotton fabrics. Garment 1 was an orange flower

print made by Liberty of London. The bands on this

garment were made of an orange cotton fabric made in the

United States. Garment 4 was made of a natural color

cotton and a harmonizing cotton print in brown fabric.

Garment 2 was a purple print cotton velveteen with purple

cording trim.

The patterns for the garments were draped on the

researcher's dress form, a typical size for a Korean

woman.

The five garments were shown to 70 Korean women

who had lived in the United States for differing numbers

of years and to 30 Caucasian \-lomen. The Korean women

were divided into three groups: those who had lived in

54

the United States for one t.o four years, those who had

lived in the United States from five to nine years, and

those who had lived in the United States ten or more

years. The purpose of this classification by years of

residency was to determine whether Korean women would

become more acclimated to western styles if they had

lived in the United States for a longer period of time.

The Korean Homen we_re selected at three Korean Protestant

churches in the San Fernando Valley. The Caucasian women

were selected from those attending the First Presbyterian

Church in Encino. At tHo Korean churches and the Cauca­

sian church, four garments were displayed on a dress form

and one garment was worn by the researcher. Four Korean

women plus the researcher modeled the garments at the

other Korean church.

The 100 women respondents gave information about

their backgrounds and about their familiarity with Korean

dress on a questionnaire. {See Appendix A, pp. 63-68.)

They also indicated their preferences for the garment

styles, fabrics, and colors as they viev1ed the garments.

One-way chi squares were calculated for each

question based on the total number of responses of the

Korean \olOmen and the Caucasian women to determine whether

there was any significant difference bet\veen the two

groups in terms of background and preferences for the

garments shovm. In addition, a comparison was made among

55

the Korean women who were divided into three groups based

on the number of years they had lived in the United

States.

The results of the study shO\ved that a significant

number of Korean respondents '"auld v1ear all of the five

garments and that the majority selected their preferred

design on the basis of style, then fabric, and last,

color. The Caucasian women selected first on the basis

of color, then on fabric, and last, on style.

A significant number of Korean \vomen also indi­

cated that, if the five garments were available on the

ready-to-wear market, they would choose to wear them to

replace their American dresses and that they would choose

to wear them to replace their traditional Korean garments.

This finding was not affected by the number of years the

subjects had lived in the United States.

Korean women ranked the garments in order of

preference as follows, starting with the highest ranked:

Dress 3 (from whalot), Dress 5 (from queen's ordinary

clothes), Dress 2 {from wonsam), Dress 4 (from tangoue),

and Dress 1 (from jukoue}. The Caucasian women's

favorite garments were ranked as Dress 5, Dress 3, Dress

4, Dress 2, and Dress 1. There was no significant

difference in ranking between the Korean and Caucasian

groups.

The results of this study were evaluated in terms

56

of the previously formulated null hypotheses.

Hypothesis 1. There is no significant difference

in the acceptability between \vomen of Korean heritage and

women of Caucasian heritage.

Since a significant number of Korean women indi­

cated that they would \vear the garments 1 that they ranked

the style of the garments higher than the color (the

Caucasian women selected the style as last place) 1 and

since a much higher percentage of Korean women would

select these dresses to replace their traditional Korean

garments than would Caucasian women, the null hypothesis

was rejected with a .05 level of significance and the

research hypothesis was accepted.

Hypothesis 2. There is no significant difference

in the acceptability of the garments designed, depending

upon the number of years women of Korean heritage have

lived in the United States.

There was no significant difference in the

acceptability of the designed garments by Korean women,

relative to the number of years they had lived in the

United States.

Hypothesis 3. There is no significant difference

in the acceptability of the garments designed for this

research and the availability of western fashions to women

of Korean heritage.

There was no significant difference between the

57

acceptabili~y of the designed garments and that of

available American fashions to the women of Korean heri­

tage.

There appears to be a need for special designs

for dresses for women of Korean heritage and clothing

manufacturers and pattern companies should be made aware

of this need and be encouraged to pursue the subject.

Recommendations for Further Study

The following recommendations are set forth for

those desiring to continue research into this area in the

future.

1. A study to determine whether Korean men find American

garments suitable.

2. An anthropometric study of Koreans and other Orientals

to develop more appropriate sizing standards for

manufacturers desiring to produce garments for this

market.

3. A study researching the ready-to-wear market to

determine v1hat manufacturers are doing to meet the

needs of women of Korean and other Oriental heritage.

4. A study to investigate the marketing of a new line of

clothing based on Americanizing of traditional Korean

dress.

58

REFERENCES

Anspach, Karlyne A., and Yoon Hee Kwon. "Western Dress Styles Adopted by Korean Women." Home Economics Research Journal, 4:235-42. June, 1976.

Cho Chung Kyung. Korea Tomorrow. New York: Macmillan, 1956.

1 Choe Ok Ja. "Study of Color and Design of the Yi Dynasty by Observing Contemporary Relics of the Period." Sudo Education College Treatise, V, 1971.

"First Day of President's U.S. Visit." The Hankook Ihbo, January 30, 1981, p. 9.

Hamilton, A., H. H. Austin, and M. Terauchi. Korea. Boston: Millet, 1910.

Kavanaugh, Gere. "Silk Textiles: Korean Treasures in Silk from Korea." Journal of Interiors, 5:127-39. October, 1976.

~irn Bun Og. The Pattern of Korean Traditional Costume. Seoul: Seoul National University Press, 1972.

/Kim, D. U. A Study of Dress and Clothing in the Early Yi Dynasty. Seoul: Korean Research Center, 1963.

Lowell, Percival. Choson: The Land of the Morning Calm. Boston: Ticknor, 1951.

Matthews, Lillian B. "Relationship between Traditional­ism of Dress and Social Values of Ghanaian Women." Horne Economics Research Journal, 7:389-98. July, 1979.

Pow Key Sohn, Cho Choon Kim, and Yi Suo Hong. The History of Korea. Seoul: Royal Asiatic Society, 1972.

Rutt, Richard. History of the Korean People. Seoul: Royal Asiatic Society, Korea Branch, 1972.

/Suk Ju Sun. The History of Korean Traditional Costumes. Seoul: Pojinje, 1971.

/Walton, Perry. The Story of Textiles. New York: Tudor, 1925.

59

\voo Keu Han. The History of Korea. Seoul: Eul-Yoo, 1970.

Yoo Hi Kyong. A Study of Korean Traditional Costumes. Seoul: Ewha \vomen's University Press, 1975.

60

APPENDIXES

61

APPENDIX A

Questionnaire Written in English

Questionnaire Written in Korean

62

QUESTIONNAIRE

1. What is your age?

a. under 20 years old c. 35-49 e. 65 or over·

b. 20-34 d. 50-64

2. Where were you born?

a. Korea c. Other country (please indicate)

b. United States

3. How many years have you lived in the United States?

4. Have you ever seen traditional Korean ceremonial costumes?

a. Yes b. No

5. If Yes, what kinds of ceremonial costumes have you seen?

a. Jukoue c. Whalo·t e. Queen's ordinary clothes

b. Wonsam d. Tangoue f. Other (please indicate)

6. Have you ever worn traditional Korean clothes?

a. Yes b. No

7. How often do you wear traditional Korean clothes?

a. At least once a week c. At least once a year e. Never

b. At least once a month d. Less than once a year

Cl'l vJ

8. How many traditional Korean dresses do you have?

a. None b. 1-5 c. More than 5

9. Could you recognize a Korean woman's social status by looking at her traditional Korean dress?·

a. Yes b. No

10. If Yes, what would help you to determine her social status?

a. Color c. Style

b. Fabric d. Other (please indicate)

YOU HAVE SEEN FIVE GARMENTS THAT ARE ADAPTED IN A MODERN

AMERICAN STYLE FROM TRADITIONAL KOREAN CEREMONIAL COSTUMES

11. If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your American dresses?

1. 2. 3. ~ 4. 5.

Yes Yes Yes Yes Yes

No No No No No

"" ~

12. If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your traditional Korean garments?

1. 2. 3. 4. 5.

Yes Yes Yes Yes Yes

No No No No No

13. You have seen five garments. Please rank them in the order in which you like them, with your favorite ranked as 1 and your least favorite as 5. (Please rank all garments.)

__ garment 1 __ garment 2 __ garment 3 __ garment 4 __ garment 5

14. For each of the garments, please indicate with a check ( ) which aspects of the garment you like.

1. color 2. color 3. color 4. color 5. color

fabric ·fabric fabric fabric fabric

__ style __ style _style __ style __ style

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APPENDIX B

Sketches, Descriptions, and Pictures of Garments

69

Garment 1: Style Adapted from Jukoue

Back

Front

V-neckline, short sleeves and mid-knee length. Orange color bia s band e x t e nding down the front. Slit trimmed with orange bias band. Two tucks on front shoulders. Back zipper. Front closing with three buttons. 100 % cotton, orange flower print made by Liberty of London. Bands of an orange cotton fabric made in the United States.

70

JUKOUE

Displayed on Dress Form

71

Garment 2: Style Adapted from Wonsam

Back

Front

Ankle length, semi-fitted one-piece dress with v­neckline and cording trim at neckline, end of ~leeves, and raised waistline. Back invisible zipper closing. Princess line seaming front and back. 100% cotton velveteen with purple flower print for garment with purple velveteen for cording.

72

73

WOMSAM

Displayed on Dress Form

. ·,-....,I ... ., - . ,'

,• . . ,. .... .

Garment 3: Style Adapted from Whalot

Front

Surplice neckline to waist. Long dress with side zipper closing. Full rounded shaped sleeves. Two pleats in skirt at waist. Korean red silk fabric embroidered in the traditional manner with small flowers placed strate­gically.

74

75

WHALOT

Modeled by Researcher

Garment 4: Style Adapted from Tangoue

Back

Front

Back zippered midi-length dress with a two-piece stand-up collar. Long sleeves gathered into cuffs. Princess seaming. Combination of 100% natural color cotton and a harmonizing print in brown fabric.

76

TANGOUE

Displayed on Dress Fo rm

77

Garment 5: Style Adapted from Queen's Ordinary tlothes

Front

Back

Mid-knee length gathered one-piece dress with surplice neckline to waist, full-length set-in rounded sleeves, self-tie belt in back. Back invisible zipper closing. Bright blue 100% Korean silk.

78

6L

m~Od sse~a uo peX~1ds~a

s~H~O~J x~NrGHo s~N~~no

APPENDIX C

List of Tables

80

Chi Square Analysis

Levels of probability used to

test for significance were

.OS and .01. The symbols used

to denote significance were:

.OS level *

.01 level **

.001 level ***

81

TABLE 2

Question 4: Have you ever seen traditional Korean cere-monial costumes? vs

Question 2: Where were you born?

Question 4 I

Question 2 Yes No Total ---------------------------------------------------------Caucasian

Korean

3

66

69

27

4

31

30

70

100

Chi square = 69.744 Degrees of freedom = 3 Significance = .001***

Question 4: Have you ever seen traditional Korean cere-monial costumes? vs

Question 3: How many years have you lived in the United States? (Korean responses only)

Question

Question 3 Yes

1-4 yrs. 29

5-'-9 yrs. 20

10 yrs. and over 17

66

4

No Total

0 29

2 22

2 19 - -4 70

Chi square= 3.038 Degrees of freedom = 5 Significance= 0.7

82

TABLE 3

Question 5: If Yes (to #4), what kinds of ceremonial costumes have you seen? vs

Question 2: Where were you born?

Question Ld~0 2 ~0

Caucasian 0 0 0 0 0 3

Korean 24 45 44 40 32 0

24 45 44 40 32 3

Chi square = 185.531 Degrees of freedom = 11 Significance = .001***

Question 5: If Yes (to #4), what kinds of ceremonial costumes have you seen? vs

Question 3: Ilow many years have you lived in the United States? (Korean responses only)

Question 3

1-4 y.rs. 10 18 19 18 10 0

5-9 yrs. 8 19 16 16 15. 0

10 yrs. and 6 8 9 6 7 0 -over 24 45 44 40 32 0

Chi square = 18.77 Degrees of freedom ::: 17 Significance = 0.5

83

TABLE 4

Question 6: Have you ever \vorn traditional Korean cere-monial costumes? vs

Question 2: Where were you born?

Question 6

Question 2 Yes

Caucasian 0

Korean 16 -16

No Total

30 30

54 70

84 100

Chi square= 8.162 Degrees of freedom = 3 Significance = .02*

Question 6: Have you ever worn traditional Korean cere-monial costumes? vs

Question 3: How many years have you lived in the United States? (Korean responses only)

Question 3 Yes

1-4 yrs. 7

5-9 yrs. 5

10 yrs. and 5 over 17

Question 6

No Total

22 29

17 22

14 19 -53 70

Chi square = 0.185 Degrees of freedom = 5 Significance = 0.99

84

TABLE 5

Question 7: How often do you wear traditional Korean clothes?

Question 2: Where were you born?

..z, 0

0ro- ro-"y 0 ~~

X., (; 0

Question 2 "\' OJ:: ~ 0

Caucasian 0 0 0

Korean 4 13 28 -4 13 28

vs

I 0 30

13 12

13 42

Chi square = 59.081 Degrees of freedom = 9 Significance = .001***

Question 7: How often do you wear traditional Korean clothes? vs

Question 3: How many years have you lived in the United States? (Korean responses only)

Question 3

1-4 yrs. 3 7

5-9 yrs. 1 3

10 yrs. and over 0 3

4 13

15

7

6 28

ra-J::

Sro-

2 2

6 5

5 5

13 12 Ch1 square = 13.28 Degrees of freedom = 14 Significance = 0.5

85

TABLE 6

Question 8: How many traditional Korean dresses do you have? vs

Question 2: ~-J'here were you born?

Question 8

Question 2 None 1-5 More than 5 ~~-------------------------------------------

Toi:al

Caucasian

Korean

28

7

35

2

52

54

0

11

11

30

70

100

Chi square = 64.14 Degrees of freedom = 5 Significance = .001***

Question 8: How many traditional Korean dresses do you have? vs

Question 3: How many years have you lived in the United States? (Korean responses only)

Quest.ion 3 None

1-4 yrs. 2

5-9 yrs. 4

10 yrs. and over 1

7

Question 8

1-5

21

16

15

52

More than 5 Total

6 29

2 22

3 19

11 70

Chi square = 3.27 Degrees of freedom = 8 Significance = 0.9

86

TABLE 7

Question 9: Could you recognize a Korean woman's social status by looking at her traditional Korean dress?

Question 2: Where were you born?

Question 2

Caucasian

Korean

Question 9

Yes

2

61

63

vs

No

28

9

37

Total

30

70

100

Chi square= 58.344 Degrees of freedom = 3 Significance= .001***

Question 9: Could you recognize a Korean woman's social status by looking at her traditional Korean dress? vs

Question 3: How many years have you lived in the United States? (Korean responses only)

Question 3

1-4 yrs.

5-9 yrs.

10 yrs. and over

g_uesti_on 9

Yes

28

17

16

61

No Tot.al

1 29

5 22

3 19

9 70

Chi square = 3.85 Degrees of freedom = 5 Significance= 0.7

87

Question 10:

Question 2:

Question 2

Caucasian

Korean

TABLE 8

If Yes {to # 9) , what would help you to determine her social status? vs

Where were you born?

Question 10

o"- / ,.,..,6 0fL_ ~ . - ~1Y

0 1

18 18

18 19

1

54 -55

0 2

3 93 -3 95

Chi square = 35.334 Degrees of freedom = 7 Significance ~ .001***

Question 10: If Yes (to #9), what would help you to determine her social status? vs

Question 3: How many years have you lived in the United States? (Korean responses only)

Question 3

1-4 yrs. 9 5 25 1 40

5-9 yrs. 8 9 15 2 34

10 yrs. and 1 4 14 0 19 -over 18 18 54 3 93

Chi square = 12.592 Degrees o£ freedom = 11 Significance = 0.3

88

TABLE 9

Question 11: If these styles were available on the ready-to-wear market, would you choose to

·wear any of them to replace your American dresses? vs

Question 2: Where were you born?

Question 2

Caucasian

Korean

Yes

8

55

63

Dress 1 ~~---------------------------Question 11

No Total ------- -------------~-----------

22

15

37

30

70

100

Chi Square = 31.551 Degrees of freedom = 3 Significance = .001***

Question 11: If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your American

Question 3:

Question 3

1-4 yrs.

5-9 yrs.

10 yrs. and over

dresses? vs

How many States?

Yes

19

19

17

55

years have you lived in the United (Korean

Question

responses only)

11

No Total

10 29

3 22

2 i9 -15 70

Chi Square = 5.04 Degrees of freedom = 5 Significance = 0.5

89

90

TABLE 9

Dress 2 Question 11

Question 2 Yes No Total

Caucasian 13 17 30 Korean 64 6 70

77 23 100 Chi Square = 27.428 Degrees of freedom == 3 Significance = .001***

Question 11

Question 3 Yes No Total

1-4 yrs. 26 3 29 5-9 yrs. 20 2 22 10 yr:s. and 18 1 19

over 64 6 70 Chi Square = 0.37 Degrees of freedom = 5 Significance = 0.99

Dress 3 Question 11

Question 2 Yes No Total

Caucasian 19 11 30 Korean 62 8 70

81 19 100 Chi Square = 8.690 Degrees of freedom = 3 Significance = .05*

Question 11

Question 3 Yes No Total

1-4 yrs. 26 ·3 29 s-q yrs. 21 1 22 10 yrs. and 15 4 19

over 62 8 70 Chi Square - 2.79 Degrees of freedom = 5 Significance = 0.8

Question 2

Caucasian Korean

Question 3

1-4 yrs. 5-9 yrs. 10 yrs. and

over

Question 2

Caucasian Korean

Yes

18 60

78

Yes

24 18 18

60

Yes

22 67

89

TABLE 9

Dress 4 Question II

No Total

12 30 10 70

22 100 Chi Square = 8.091 Degrees of freedom Significance ::= .05*

Question 11

No Total

5 29 4 22 1 19 -

10 70 Chi Square ::= 1. 73 Degrees of freedom Significance = 0.9

Dress 5 --Qu_e s t io-n-! .....,1~1::----

No

8 3

Total

30 70

11 100

::= 3

= 5

Chi Square = 10.742 Degrees of freedom = 3 ~Sig:nificance = ~*--­

==============-=-=~~-~~~~~~~~~~==~ Question 11

Question 3 Yes No Total

1-4 yrs. 28 1 29 5-9 yrs. 21 1 22 10 yrs. and 18 1 19

over 67 3 70 Chi Square = 5.991 Degrees of freedom = 5 Significance = 0.5

91

TABLE 10

Question 12: If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your traditional Korean garments? vs

Question 2~ Where were you born?

Dress 1 Question 12

Question 2 Yes No Total

Caucasian 8 22 30

Korean 46 24 70 --54 46 100

Chi Square = 12.888 Degrees of freedom = 3 Significance == .01**

Question 12: If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your traditional Korean garments? vs

Question 3: How many years have you lived in the United States? (Korean responses only)

Question 3 Yes

1-4 yrs. 17

5-9 yrs. 18

10 yrs. and 11 -over 46

Question 12

No

12

4

8

24

Total

29

22

19

70

Chi Square== 4.34 Degrees of freedom == 5 Significance == 0.5

92

Question 2

Caucasian Koresn

Yes

10 57

67

Question 3 Yes -=-------------------1-4 yrs. 5-9 yrs.

25 16 16

TABLE 10

Dress 2 Question 12

No

20 13

33

Question 12

No

4 6 3

Total

30 70

100 Chi Square = 21.970 Degrees of freedom = 3 Significance= .001***

Total

29 22 19 10 yrs. and

over 57 13 70 ---------------------- ---------------~Chi Squa_r_e-.--=~3-.~6~2~---

Question 2 Yes ~~-------------------Caucasian Korean

19 63

82

Dress 3 Question 12

No

11 7

Degrees of freedom = 5 Significance= 0.7

Total

30 70

18 100 ----------------------------------------

Question 3

1-4 yrs. 5-9 yrs. 10 yrs. and

over

Yes

24 21 18

63

Question 12

No

5 1 1

Chi Square = 10.115 Degrees of freedom = 3 Significance = .02*

Total

29 22 19

7 70 ----~-c=h~i· Square = 4.44

Degrees of freedom = 5 Significance = 0.5

93

Question 2

Caucasian Korean

Question 3

1-4 yrs. 5-9 yrs. 10 yrs. and

over

Yes

10 50

60

Yes

22 17 11

50

TABLE 10

Dress 4 Question 12

No

20 20

Total

30 70

40 100

Question 12

No

7 5 8

Chi Square = 12.696 Degrees of freedom = 3 Significance= .01**

Total

29 22 19

20 70 ~------------------------------------Chi Square = 2.512

Question 2

Caucasian Korean

Question 3

1-4 yrs. 5-9 yrs. 10 yrs. and

over

Yes

22 66

88

Yes

27 21 18

66

Dress 5 Question 12

Degrees of freedom = 5 Significance = 0.8

No Total

8 4

12

Question 12

No

2 1 1

30 70

100 Chi Square= 8.728 Degrees of freedom = 3 Significance= .05*

Total

29 22 19

4 70 Chi Square- 1.334 Degrees of freedom = 5 Significance = 0.95

94

TABLE 11

Question 13: Please rank them in the order in which you liked them, with your favorite ranked as 1 and your least favorite ranked as 5. vs

Question 2: Where were you born?

Question 13 Spearman

Question 2 Garment l 2 3 4 5 rho

Caucasian Total 118 103 70 92 67 .050

Rank 5 4 2 3 1 Signifi-cance = N.S.

- - - - - - - - - - - - - - - - - - - -Korean Total 298 222 152 225 153 .050

Rank 5 3 1 4 2 Signifi-cance = N.S.

9S

TABLE 12

Question 14: For each of the garments, please indicate with a check (X) which aspect(s) of the garment you like. vs

Question 2: Where were you born?

Dress 1 Question 14

Question 2 Color Fabric Style Total

Caucasian 9 5 16 30

Korean 18 14 47 79

27 19 63 109

Chi Square = 0.9 Degrees of freedom = 5 Significance= 0.98

Question 14: For each of the garments, please indicate with a check (X) which aspect(s) of the garment you like. vs

Question 3: How many years have you lived in the United States? (Korean responses only)

Question 14

Question 3 Color Fabric Style Total

1-4 yrs. 3 3 17 23

5-9 yrs. 10 7 15 32

10 yrs. and 5 4 15 24 -over 18 14 47 79

Chi Square = 4.32 Degrees of freedom = 8 Significance = 0.9

96

TABLE 12

Dress 2 Quest-ion 14

Question 2 Color Fabric -

Caucasian 15 13 Korean 28 25

43 38

-Question 14

Question 3 Color Fabric -------1-4 yrs. 10 11 5-9 yrs. 8 7 10 yrs. and 10 7

over 28 25

Dress 3 Qu~stion 14

Question 2 Color Fabric

Caucasian 13 13. Korean 25 33

38 46

Question 14

Question 3 Color Fabric

1-4 yrs. 10 14 5-9 yrs. 10 10 10 yrs. and 5 9

over 25 33

Style Total

10 38 44 97

54 . 135 Chi Square = 4.19 Degrees of freedom Significance - 0.7

Style Total

16 37 10 25 18 35

44 97 Chi Square :::: l. 37 Degrees of freedom S:ig_nificance :::: 0.99

Style Total

23 49 48 106

71 155 Chi Square :::: 0.58 Degrees of freedom Significance

Style

20 15 13

48

= 0.99

Total

44 35 27

106

==

::::

::::

5

8

5

Chi Square - 1.58 Degrees of freedom = 8 Significance = 0.99

97

98

•rABLE 12

Dress 4 Question 14

Question 2 Color Fabric Style Total

Caucasian 14 9 6 29 Korean 27 10 50 87

41 19 56 116 Chi Square = 12.98 Degrees of freedom == 5 Significance = .05*

Question 14

Question 3 Color Fabric Style Total

1-4 yrs. 10 3 20 33 5-9 yrs. 10 6 15 31 10 yrs. and 7 1 15 23

over 27 10 50 87 Chi Square = 3.79 Degrees of freedom = 8 Signific_ance = 0.9

Dress 5 guestion 14

Question 2 Color Fabric Style Total

Caucasian 20 24 22 66 Korean 38 39 57 134 -

58 63 79 200 Chi Square = 2. 69 3 Degrees of freedom = 5 Significance == 0.8

Question 14

Question 3 Color Fabric Style Total

1-4 yrs. 20 15 25 60 5-9 yrs. 8 15 17 40 10 yrs. and 10 9 15 34

over 38 39 57 134 Chi Square == 6.16 Degrees of freedom = 8 Significance = 0.7

----